fruit and god and fires

its the same way sally rooney has removed quotation marks, and her writing feels smoother from it, subtler, a more coherent story where there is no stepping in our out of characters. everything falls in line, the veil draws back: the distance between character/reader is removed and instead of having the feeling be cut up by speech marks – there is a greater intimacy. the boundary is gone. the feelings of the character no longer at a distance to yourself, the reader is immersed in the skin of the character. no longer a book away.

i see the same thing in the internets refusal to Capitalise. (realise how you just read that word differently? your internal tone of voice heightening at that C?) thats again, removing the distance [!], keeping a hold of that intimacy with the reader. cherishing that tender bond.

its interesting, because siken says he needs to rely on the reader to make the associative leap when the "is" is left out. the same is true for rooney, i think. the lack of quotation marks demands attention. with an unfocused an divided mind, the lack of speech marks can easily be more annoying than smooth, stopping the flow of which the text invites the reader into. the capitalization of words is a stop too, a poem with uneven syllables: an irregular heartbeat ruining the pulse of the rhythm.